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• Crehan: Aftermath; computer-set 

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• Crehan: Aftermath; computer-set 

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This work is the winner of the 7th ADAM Cello Festival Young Composer Competition.

• Crehan: Fantasia Festa; computer-set 

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• Jonathan Crehan: Fantasia Festa; video 

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In this work, inspired by Paekakariki on the Kapiti Coast – ‘home’ during the composer’s six-week residency at Victoria University in 1989 – the relationship between music and environment is particularly strong. The cello’s low repeated D, which opens the piece, is the fundamental pitch heard in the sea and the restless semi-quavers evoke the continuous movement of waves crashing on the Paekakariki shore. Whitehead’s fascination with medieval philosophy and music, incorporating concepts of natural cycles, is reflected both in the title and in the compositional process, where magic squares were used to generate the background structure.
(Programme note by Emma Carle and Jack Body).

“This is a rich evocative piece that is never merely picturesque, as the title might suggest. It has a lyrical complexity reminiscent of Tippett… (it) achieves moments of great beauty.” (Tim Bridgewater, The Dominion).

“The highlight for me was the premiere of Gillian Whitehead’s Moon Tides, and Shoreline. … Perhaps there are marine associations to be heard in the score, but, more importantly, one appreciates the work’s cool and eminently logical form. The various musical motifs are inventive in themselves and intriguingly handled.” (William Dart, Music in New Zealand)

• Whitehead: Moon, Tides and Shoreline; facsimile 

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• Whitehead: Moon, Tides and Shoreline; computer-set 

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• Gillian Whitehead: Various Works 

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• Waiteata Collection of New Zealand Music Vol. 3 - Composer Portrait: Gillian Whitehead  Year: 2000 

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I had conceived the ideas for Moth long before it was written down on paper, having been kept awake on many occasions during the summer nights by the sounds of these fluttering insects. The sounds were fragmented by intervals of long silence, but they came so suddenly even the heaviest of sleepers would be irritated.

Moths are beautiful and eerie nocturnal creatures; they use a celestial navigation system which keeps them flying in a straight line, but however are unable to resist bright objects nearby.

In Moth, by using two violins, I have juxtaposed the serene attraction of the bright light, with the nervous and agitated behaviour of a single moth. Placing the violin parts closely together – both striving for a common goal, yet always in conflict with each other – I have attempted to portray the struggle of the poor creature who is forever trying to reach the moon.

Chen (Tony) Lin

• Lin, T.: Moth; computer-set 

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• Lin, T.: Moth; computer-set 

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• Tony Lin: Moth 

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• Tony Lin: Moth 

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Curnow requested this work from Lilburn in 1952 for a poetry reading at Auckland University College. The event took place on the evening of 9 August that year, and involved a substantial amount of poetry (twenty-two poems in total) read by the poets involved. (Actually the works of eight poets were represented: Baxter read “Canto at Twenty-seven” by Louis Johnson).

Lilburn’s music was premiered by Antonia Braidwood (violin) and Donald Bowick (piano). One movement was supposed to precede each reading, providing the audience with the composer’s musical impressions of the work and personality of each poet. In the event, however, the order was reversed, which led to some confusion for the audience and some displeasure for the composer. Typical of New Zealand composition of the time, there was no fee to be had for the work. Lilburn even had to pay his way to Auckland for the rehearsals. On his return to Wellington, Lilburn shelved and forgot about the work. It was not until a chance meeting at his doctor’s surgery in 1988/89 that he was reminded of its existence by Lady Dorothea Turner, who had reviewed the first performance. At that point Lilburn contacted the violinist Dean Major to ask if he would be interested in performing it. After some negotiation the composer also determined that he would write a narration to go along with the music in lieu of the twenty-two poems, and (most surprisingly) volunteered to read this himself.

Salutes to Seven Poets was recorded by Concert FM on 5 September 1989, by Major (violin), with Rae de Lisle (piano). As if to make up for thirty-eight years of neglect of the work, this recording received a Mobil Award in 1990.

(Note by Nancy November).

• Lilburn: Salutes to Seven Poets; computer-set 

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• Waiteata Collection of New Zealand Music Vol. 9 - Douglas Lilburn: Salutes to Poets  Year: 2006 

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• Douglas Lilburn: Violin and Piano Works  Year: 2011 

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This is a set of variations inspired by Copland’s Piano Variations and depicting Auckland rather than New York. Beginning quietly and sombrely, it moves steadily towards a fierce climax before dying away with a hint of better things to come. This work was written for the CANZ ’90 series of concerts held at Auckland University. The composer is pleased with it and the way it was performed though it did not receive a very good review in Canzona; it was considered too restricted in its make-up. The composer is unrepentant.

• Hinds: String Quartet ('Tale of a City'); facsimile 

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• Hinds: String Quartet ('Tale of a City'); facsimile 

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Tutukaka is a reflective work inspired by Tutukaka in Northland, New Zealand. The work is based around a lyrical melody that is first played by the violin at the start of
the piece. The melody gently carries memories of isolated beaches, watching the tides ebb and flow and the powerful feeling of standing on the tip of a headland looking out
into the ocean.

The music in turn visits other memories; the swirling waves at Matapouri beach, watching a lighthouse glow unfailingly every night and seagulls scavenging around the fishing boats.

• Toan: Tutukaka; computer-set 

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• Toan: Tutukaka; computer-set 

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Throughout the last two summers, a tui has sung the same uncharacteristically repetitive song behind my house. This melodic fragment appears as a cadential echo to the flow of the music. The most immediate image is of gentle fluvial movement, agitated by falling drops and stronger currents. Yet beneath the surface there is an insistence, an energy in suspension.

• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer set 

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• Brownlee: Water Sketch with Tui; computer-set 

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• Philip Brownlee: Water Sketch with Tui; video 

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